第一章

CHAPTER

1

音高和谱号

Pitches and Clefs

在这一章当中

In This Chapter

• 理解音乐音调
• Understanding musical tones
• 为特定音高分配名称
• Assigning names to specific pitches
• 在五线谱上写笔记
• Putting notes on a staff
• 使用高音、低音和其他谱号
• Using the treble, bass, and other clefs

第 1 课，第 2 课

Lesson 1, Track 2

从书名就可以看出，这是一本关于乐理的书。但音乐理论到底是什么？而且，比这更基本的是，什么是音乐？

As you can tell from the title, this is a book about music theory. But what exactly is music theory? And, even more basic than that, what is music?

“音乐”这个词有很多不同的定义，有些更具诗意而不是实用。例如，威廉·莎士比亚称音乐为“爱情的食粮”，萧伯纳称音乐为“受诅咒者的白兰地”，而戈特弗里德·威廉·莱布尼茨则称音乐为“听起来像数学的东西”。

There are lots of different definitions of the word “music,” some more poetic than practical. For example, William Shakespeare called music the “food of love,” George Bernard Shaw called music the “brandy of the damned,” and Gottfried Wilhelm Leibnitz called music “sounding mathematics.”

这些定义都很有趣，但并不是我们真正要寻找的。让我们尝试另一个定义：

Interesting definitions all, but not really what we’re looking for here. Let’s try another definition:

音乐是在时间框架内组织声音和寂静的艺术、工艺和科学。

Music is the art, the craft, and the science of organizing sound and silence in the framework of time.

现在这有点有用了，但它仍然相当广泛。这个定义可以描述各种各样的活动——母亲给孩子唱摇篮曲、管弦乐队演奏莫扎特交响曲、摇滚乐队演奏最新热门歌曲、一群美洲原住民演奏仪式性的鼓点、路易斯·阿姆斯特朗在音乐厅吹小号。爵士四重奏，一群水手唱着“哟嘿嘿”，或者夜莺在歌唱小夜曲。你买这本书可能不是为了了解所有这些东西，尽管它们都可以称为“音乐”。

Now that’s a little more helpful, but it’s still fairly broad. This definition could describe a tremendous range of activities—a mother singing a lullaby to her child, an orchestra playing a Mozart symphony, a rock group performing their latest hit, a group of Native Americans playing ceremonial drum beats, Louis Armstrong playing trumpet in a jazz quartet, a group of sailors chanting “yo heave ho,” or a nightingale warbling a serenade. You probably didn’t buy this book to learn about all these things, although all of them can be called “music.”

因此，我们将在本书中使用略有不同的音乐定义。这个定义更加具体：

So we’ll use a slightly different definition of music in this book. This definition is a lot more specific:

音乐是按特定节奏排列的一系列音调。

Music is a succession of tones arranged in a specific rhythm.

更好的？这个定义并没有涵盖所有被称为“音乐”的东西，但它可能涵盖了你熟悉的音乐类型——主要是二十世纪和二十一世纪的流行音乐，从拉格泰姆到雷鬼到摇滚，以及介于两者之间的一切。

Better? This definition doesn’t cover everything that’s ever been called “music,” but it probably covers those types of music that you’re familiar with—primarily, twentieth- and twenty-first-century popular music, from ragtime to reggae to rock, and everything in between.

现在谈谈“理论”这个词。在科学界，这个词被用作假设的表述，例如爱因斯坦的相对论。尽管学术音乐理论家有时确实以这种科学方式提出假设，但这不是本书的主题。

Now to the word “theory.” In scientific circles, this word is used as the formulation of a hypothesis, such as Einstein’s theory of relativity. Although academic music theorists sometimes do formulate hypotheses in this scientific fashion, that’s not what this book is about.

在我们的上下文中，我们将使用“理论”一词来表示对音乐基础知识的研究——表演者和听众需要了解的基本知识才能创作和享受这种奇妙的艺术。这可以追溯到这个词的根源，意思是“一种看待的方式”。如果我们扩大这个定义，不仅包括看，还包括听和表演，那么我们就完成了。

In our context, we’ll use the word “theory” to mean a study of the rudiments of music—the basic things that performers and listeners need to know to produce and enjoy this marvelous art. This goes back to the root meaning of the word, which means “a way of looking.” If we broaden this definition to include not just looking, but also listening and performing, then we’re set.

现在我们已经定义了术语，是时候学习音乐背后的理论了。让我们回到我们对音乐的定义，音乐是按特定节奏排列的一系列音调。那么，为了学习音乐，我们必须学习音符以及如何排列它们。

Now that we’ve defined our terms, it’s time to learn the theory behind the music. Let’s go back to our definition of music, which says that music is a succession of tones, arranged in a specific rhythm. To study music, then, we have to learn about notes, and about arranging them.

我们将从第 5 章开始讨论“以特定节奏进行编曲” 。这让我们暂时将注意力集中在音调上。

We’ll get to the “arranging in a specific rhythm” bit starting with Chapter 5. That lets us focus our attention, for the time being, on tones.

了解音乐音调

Understanding Musical Tones

那么什么是语气呢？定义很简单：音调是以特定音高演奏或演唱的声音。

So what’s a tone? The definition is simple: a tone is a sound that is played or sung at a specific pitch.

当你哼唱（继续……）时，你就是在哼唱一个音调。当你吹口哨时，你在吹口哨。当你发出“aaaahhhh”时，你发出了一个音调。如果你把两个或多个嗡嗡声、口哨声或“aaaahhhhs”放在一起，你就得到了音乐。

When you hum (go ahead …), you’re humming a tone. When you whistle, you’re whistling a tone. When you go “aaaahhhh,” you’re sounding a tone. If you put two or more hums, whistles, or “aaaahhhhs” together, you have music.

您可以哼出多种不同的音调，无论是高音还是低音。较高的音调称为较高音调；较低的音调称为低音调。

You can hum lots of different tones, high or low. The higher tones are referred to as higher pitched; lower tones are called lower pitched.

这是一个练习：哼一声。现在哼出比第一个音调更高的音调。

Here’s an exercise: hum a tone. Now hum a tone higher than the first tone.

你刚才哼的是两种不同的音调，两种不同的音调。第二个音调比第一个音调更高。

What you’ve just hummed are two separate tones, at two separate pitches. The second tone was higher pitched than the first tone.

不同的声音和不同的乐器会产生不同的音域。例如，女性的声音往往高于男性；大多数女性所唱的音调比大多数男性所唱的音调更高。（当然，这条规则也有例外；听一下 20 世纪 50 年代的一些 doo-wop 歌手，您会听到一些相当高的男声！）

Different voices and different instruments produce different ranges of tones. For example, women tend to have higher voices than men; the tones most women sing are higher pitched than the tones most men sing. (There are exceptions to this rule, of course; listen to some of the doo-wop singers of the 1950s and you’ll hear some fairly high male voices!)

在乐器世界中，物理上较大的乐器往往会产生低音调，而较小的乐器往往会产生较高音调。这是因为较大的乐器比较小的乐器移动更多的空气，而更多的空气意味着更低的音高。这就是为什么长笛的小圆柱体比大号的大铜管发出更高的音符，也是为什么吉他上的细弦比粗弦的音调更高。

In the world of musical instruments, physically larger instruments tend to produce lower-pitched tones, whereas smaller instruments tend to produce higher-pitched tones. This is because bigger instruments move more air than smaller ones do, and more air means a lower pitch. This is why the small cylinder of a flute produces higher notes than the big brass tubing of a tuba, and why the thin strings on a guitar are higher pitched than the thick strings.

有些乐器比其他乐器产生更广泛的音调。尤其是钢琴，音域非常广泛。从最低的音调（键盘最左边的琴键）到最高的音调（最右边的琴键），钢琴比任何其他乐器都能再现更多的音调，而且肯定比人声多得多！

Some instruments produce a broader range of tones than other instruments. In particular, the piano has a very broad range. From the lowest tone (the key on the far left of the keyboard) to the highest (the key on the far right), the piano reproduces more tones than just about any other instrument—and certainly a lot more than the human voice!

是时候进行另一项练习了：哼出你能哼出的最低声调；然后逐渐提高音调，直到你哼出你能哼出的最高音。你只是哼出很多不同的音调。那么，如何描述特定的音调以便其他人可以哼出相同的音调呢？

Time for another exercise: hum the lowest tone you can hum; then gradually raise the pitch until you’re humming the highest tone you can hum. You just hummed a whole lot of different tones. How, then, do you describe a specific tone so that someone else can hum the same tone?

音调有价值

Tones Have Value

在描述音调时，了解您可以演唱或演奏的每种音调都有特定的价值会有所帮助。您可以科学地测量该值，并使用该值来描述音调，或者更准确地说，它的音调。如果这太复杂，您还可以为每个音调指定任意名称。（来吧：哼一个叫“鲍勃”的音符。）

When it comes to describing a tone, it helps to know that every tone you can sing or play has a specific value. You can measure that value scientifically, and use that value to describe the tone—or, more precisely, its pitch. If that’s too complicated, you also can assign an arbitrary name to each tone. (Go ahead: hum a note called “Bob.”)

调频

Tuning Into a Frequency

如果将麦克风插入示波器，然后向麦克风发出嗡嗡声，示波器将测量该音调的频率。这实际上是对空气分子振动速度的测量。振动越快，音调越高。

If you plug a microphone into an oscilloscope, and then hum a tone into the microphone, the oscilloscope will measure the frequency of the tone. This is actually a measurement of how fast the molecules of air are vibrating; the faster the vibrations, the higher the pitch.

这些振动以每秒周期数来测量，而且数量很多。（每秒的周期数通常称为赫兹，缩写为 Hz。）如果您哼出我们称为中音 C 的音调（位于完整 88 键钢琴键盘正中心的白键，或吉他第二根弦上的第一个品格） ），示波器将测量 261.6Hz，即空气每秒来回循环 261.6 次。

These vibrations are measured in cycles per second, and there are a lot of them. (Cycles per second are often called hertz, abbreviated Hz.) If you hum the pitch we call middle C (the white key in the exact center of a full 88-key piano keyboard, or the first fret on the second string of a guitar), the oscilloscope will measure 261.6Hz—that is, the air is cycling back and forth 261.6 times per second.

因此，识别特定音高的一种方法是通过它们的频率。不幸的是，即使根据频率写出简单的旋律也会变得有点笨拙。例如，这是按频率标注的“玛丽有一只小羊羔”的前半部分（“玛丽有一只小羊羔，小羊羔，小羊羔”）：

So one way to identify specific pitches is by their frequency. Unfortunately, writing out even a simple melody in terms of frequency gets a tad unwieldy. For example, here’s the first half of “Mary Had a Little Lamb” (“Mary had a little lamb, little lamb, little lamb”) notated by frequency:

659赫兹、587赫兹、523赫兹、587赫兹、659赫兹、659赫兹、659赫兹、587赫兹、587赫兹

、587赫兹、659赫兹、

783赫兹、783赫兹

659Hz,   587Hz,   523Hz,   587Hz,   659Hz,   659Hz,   659Hz,

587Hz,   587Hz,   587Hz,

659Hz,   783Hz,   783Hz

不容易阅读，是吗？这就是为什么我们不使用频率方法来写音乐。

Not easy to read, is it? That’s why we don’t use the frequency method to write music.

按数字玩

Play by Numbers

指定音调的一种更简单的方法是对每个单独的音高进行编号。但在我们开始编号之前，了解一下不同音调之间的相互关系会有所帮助。

An easier way to designate tones is to number each individual pitch. But before we start numbering, it helps to know a little bit about how different pitches relate to each other.

当您哼出一个音高时，您可以将该音高从较低“滑动”到较高，然后再返回，这可能会让您认为有无限多个可用的音高。（当您查看频率时，您当然可以看到这一点；一种音调为 256Hz，另一种音调为 257Hz，另一种音调为 258Hz，依此类推。）

When you hum a pitch, you can “slide” that pitch from lower to higher and back again, which might make you think there are an infinite number of pitches available. (You can certainly see this when you look at frequencies; you have one tone at 256Hz, another at 257Hz, another at 258Hz, and so on.)

尽管这在理论上可能是正确的，但在实践中，有些音高太接近而无法清楚地区分它们。例如，如果您哼出 256Hz 音调和 257Hz 音调，它们听起来音调几乎相同，因为音调之间没有足够大的间隔。

Although that might be true in theory, in practice some pitches are too close together to clearly distinguish them. For example, if you hum a 256Hz tone and a 257Hz tone, they sound almost identical in pitch because there isn’t a big enough interval between the tones.

我们需要在音调之间设置合理的间隔，足以让我们的耳朵注意到，然后为产生的主要音高分配值。您最终得到的是一系列称为音阶的音高。（您将在第 2 章中了解有关音阶的更多信息。）每个音阶都以特定音调开始，并以同一音调的更高音调版本结束。

We need to place a reasonable interval between tones, enough for our ears to notice, and then assign values to those main pitches that result. What you end up with is a series of pitches called a scale. (You’ll learn more about scales in Chapter 2.) Each scale starts on a specific tone, and ends on a higher-pitched version of that same tone.

在西方世界，我们将音阶分为七个主要音符——如果算上最高音，即在音阶末尾重复更高的起始音符，则为八个。因为有七个音符，所以很容易对它们进行编号 - 从一到七。使用这个编号系统，“玛丽有一只小羔羊”的前半部分如下所示：

In the Western world, we divide our scales into seven main notes—eight if you count the top note, which is the starting note repeated higher at the end of the scale. Because there are seven notes, it’s easy to number them—one through seven. Using this numbering system, here’s what the first half of “Mary Had a Little Lamb” looks like:

3 2 1 2 3 3 3

2 2 2

3 5 5

3 2 1 2 3 3 3

2 2 2

3 5 5

如果您正在阅读前面的内容并想了解编号系统如何应用于传统音乐记谱法，以下是 C 大调音阶的样子（按数字排列）：

If you’re reading ahead and want to see how the numbering system applies to traditional music notation, here’s what the C Major scale looks like, by the numbers:

对 C 大调音阶中的音符进行编号。

Numbering the notes in the C Major scale.

现在，不要在这里混淆，但其中一些主要音符之间实际上有音符——它们的数量足以让我们在它们开始重复之前确实有12 个音高。这些中间音高以我们所说的半音等距间隔，其中主要音高（A、B、C 等）之间有一个或两个半音，具体取决于音符。（我知道，它已经变得令人困惑了......）

Now, not to be confusing here, but there are actually notes between some of these main notes—enough of them that we really have 12 pitches before they start repeating. These in-between pitches are equally spaced in what we call half steps, where the major pitches (A, B, C, etc.) have either one or two half steps between them, depending on the note. (I know, it’s getting confusing already ….)

目前，我们将重点关注音阶的七个主要音符，因为这是最容易理解的。我们将把半音留在第 2 章。如果您有兴趣，请随时阅读。

For the time being, we’re going to focus on the seven main notes of a scale since that’s easiest to understand. We’ll leave the half steps for Chapter 2. Feel free to read ahead if you’re interested.

多瑞米

Do Re Mi

记住每个音调的另一种方法是为每个音调分配一个简单的音节。还记得《音乐之声》中的歌曲“Do，一只鹿，一只母鹿”吗？这就是我们在这里讨论的内容。

Another way to remember each tone is by assigning a simple syllable to each tone. Remember the song from The Sound of Music that goes “Do, a deer, a female deer”? That’s what we’re talking about here.

在这种称为Solfeggio或Solfège（发音为sol-FEZH ）的特殊方法中，音阶的七个音符中的每一个都有自己的名称。下表显示了要使用的单词。

In this particular method, called Solfeggio or Solfège (pronounced sol-FEZH), each of the seven notes of a scale has its own name. The following table shows the words to use.

视唱练耳法

The Solfeggio Method

语气 Tone	视唱练耳名称 Solfeggio Name	发音 Pronunciation
1 1	做 Do	多赫 Doh
2 2	关于 Re	射线 Ray
3 3	米 Mi	面 Mee
4 4	F A Fa	法赫 Fah
5 5	所以（索尔） So (Sol)	所以 So
6 6	拉 La	拉赫 Lah
7 7	钛 Ti	球座 Tee
8 8	做 Do	多赫 Doh

如果您正在阅读前面的内容并想了解视唱练耳名称如何应用于传统音乐符号，那么 C 大调音阶如下所示：

If you’re reading ahead and want to know how the Solfeggio names apply to traditional music notation, here’s what the C Major scale looks like:

C 大调音阶的 Do Re Mis。

The Do Re Mis of the C Major scale.

音调有名字

Tones Have Names

重要的是要知道编号和视唱练耳方法都是命名乐音的相对方法。也就是说，音阶中的第一个音符始终是第一，并且始终称为 Do。第二个音始终是第二个，并且始终称为 Re。无论您以什么实际语气开始，这些名称始终适用。

It’s important to know that both the numbering and the Solfeggio methods are relative ways of naming musical tones. That is, the first note in a scale is always number one, and is always called Do. The second tone is always number two, and is always called Re. It doesn’t matter what actual tone you start with, these names always apply.

使用相对命名的问题在于它不会告诉您从什么精确的音调开始。你的《Do Re Mi》可能会以低音开始，而你的邻居可能会以较高的音调开始，你们的二重唱最终听起来就像两头发情的水牛。

The problem with using relative naming is that it doesn’t tell you what precise pitch to start with. You might start your Do Re Mi on a low pitch, and your neighbor might start hers on a higher pitch, and your duet will end up sounding like two water buffaloes in heat.

那不好。（当然，除非你是水牛。）

And that’s not good. (Unless you’re a water buffalo, of course.)

不，我们需要的是一种指定特定音高的方法，而无需诉诸繁琐的频率方法。

No, what we need is a way to designate specific pitches—without resorting to the cumbersome frequency method.

这种方法的唯一问题是你可以唱或弹奏多个 A。

The only problem with this method is that you can sing or play more than one A.

尝试这个练习：唱 ABCDEFGA（想想“Do Re Mi Fa So La Ti Do”）。第一个 A 和第二个 A 应该是相同的音调，第二个 A比第一个 A 高一个八度。（你会本章稍后会介绍八度音阶——足以说明这是一种呈现同一音符的较低或较高版本的方式。）

Try this exercise: sing A B C D E F G A (think “Do Re Mi Fa So La Ti Do”). The first A and the second A should be the same tone, with the second A an octave higher than the first A. (You’ll learn about octaves a little later in this chapter—suffice to say it’s a way of presenting a lower or higher version of the same note.)

您可以弹奏低音 A 和高音 A，以及低于和高于这些 A 的其他 A。现在，所有的 A 都会有相同的语气；它们只是基本音调的更高或更低版本。

You can play an A with a low pitch, and an A with a higher pitch—and other As both below and above those. Now, all the As will have the same tone; they’re just higher or lower versions of the basic pitch.

那么，如何判断要演奏或演唱哪个 A 呢？

How, then, do you tell which A to play or sing?

钢琴键盘上的音符

Notes on a Piano Keyboard

可视化七个基本音符（A 到 G）的一个好方法是查看钢琴键盘。键盘上的每个白键都对应这七个主要音符之一，如下图所示。（暂时忽略黑键。）

A good way to visualize the seven basic notes (A through G) is to look at a piano keyboard. Each white key on the keyboard corresponds to one of these seven main notes, as shown in the following figure. (And ignore the black keys, for the time being.)

正如您所看到的，钢琴上的黑白键形成了一定的图案。如果您从正确的位置开始，您会看到黑键三三两两地排列。一组三个黑色音符左侧的第一个白键始终分配给 F 音。一组两个黑色音符左侧的第一个白键始终分配给 C。一旦您知道 F 和 C 的位置是，您可以找出其他音调的位置。

As you can see, the black and white keys on a piano form a certain pattern. If you start in the right place, you’ll see that the black keys are arranged in groups of threes and twos. The first white key to the left of a group of three black notes is always assigned to the tone of F. The first white key to the left of a group of two black notes is always assigned to C. Once you know where F and C are, you can figure out the location of the other tones.

要确定要弹奏哪个 A（或 F 或 C），请知道位于全尺寸钢琴键盘正中间的 C（位于制造商徽标或下拉门把手的正下方）称为中间C。（它是键盘中间的 C，很容易记住。）所有其他音符都可以相对于中音 C 来描述，如“中音 C 上方的 F”或“中音 C 下方的 D”。

To figure out which A (or F or C) to play, know that the C located in the very middle of a full-size piano keyboard—directly underneath the manufacturer’s logo or pull-down door handle—is called middle C. (It’s the C in the middle of the keyboard—easy to remember.) All other notes can be described relative to middle C—as in “the F above middle C” or “the D below middle C.”

员工须知

Notes on a Staff

现在您已经了解了七个基本音符以及它们在钢琴键盘上的位置，那么您如何将这些音符传达给其他人呢？你可以拼出一首歌；如果你用这个方法，《玛丽有一只小羊羔》的前半部分会是这样的：

Now that you know the seven basic notes and where they lie on a piano keyboard, how do you go about communicating those notes to others? You could just spell out a song; if you used this method, the first half of “Mary Had a Little Lamb” would look like this:

EDCDEEE

DDD

鸡蛋

E D C D E E E

D D D

E G G

现在，这比使用数字或视唱练耳更具体，但仍然有点难以阅读。标记音高的更好方法是使用在某些方面类似于基本钢琴键盘的图形来直观地进行标记。该图形称为员工。

Now, that’s more specific than using numbers or Solfeggio, but it’s still somewhat difficult to read. A better way to notate pitches is to do so visually, using a graphic that in some ways resembles a basic piano keyboard. This graphic is called a staff.

基本的乐谱由线条和空间组成，如下所示：

The basic music staff is composed of lines and spaces, like this:

一个空白的工作人员。

A blank staff.

正如您所看到的，五线谱正好有五行和四个空格。每条线或空格代表一个特定的音高。音高由五线谱开头的谱号决定；我们在这里看到的五线谱使用的是所谓的高音谱号。（有几种不同类型的谱号，我们将在本章后面讨论。）

As you can see, the staff has precisely five lines and four spaces. Each line or space represents a specific pitch. The pitches are determined by the clef at the beginning of the staff; the staff we’re looking at here uses what’s called the treble clef. (There are several different types of clefs, which we’ll discuss later in this chapter.)

五线谱（高音谱号）的音符。

The notes of a staff (treble clef).

此高音谱号五线谱描绘了钢琴键盘正中间的音符，即中音 C 上方。（五线谱的底线代表中音 C 上方的 E。）下图显示了五线谱的音符与特定钢琴的关系键。

This treble clef staff pictures the notes in the exact middle of a piano keyboard—just above middle C. (The bottom line of the staff represents the E above middle C.) The following figure shows how the notes of the staff relate to specific piano keys.

谱表上的音符以及它们在钢琴键盘上出现的位置。

The notes on a staff and where they appear on a piano keyboard.

回到“玛丽有一只小羔羊”，这首歌的第一部分在乐谱上是这样的：

Back to “Mary Had a Little Lamb,” here’s what the first part of that song looks like on a music staff:

乐谱上的“玛丽有一只小羊羔”的音符。

The notes of “Mary Had a Little Lamb” on a music staff.

员工之上和之下

Above—and Below—the Staff

基本五线谱描述了九个基本音符——五个在横线上，四个在空格上。但是，这九个音符之上或之下的所有音符（例如“玛丽有一只小羊羔”中的最后一个音符）又如何呢？

The basic staff describes nine basic notes—five on the lines, four in the spaces. But what about all those notes either above or below these nine notes—like that last note in “Mary Had a Little Lamb”?

高于五线谱顶部 F 的音符写在五线谱上方的线条和空格中。例如，五线谱上方的第一个空格是 F: G 之后的第一个音符。五线谱上方的第一行是 G: A 之后的第一个音符。您可以在五线谱上方不断添加空格和线条来描述越来越高的音符，如下图所示。

Notes higher than the F at the top of the staff are written in the lines and spaces above the staff. For example, the first space above the staff is the first note after F: G. The first line above the staff is the first note after G: A. You can keep adding spaces and lines above the staff to describe higher and higher notes, as shown in the following figure.

正如您可以在五线谱上方添加线条和空格一样，您也可以在五线谱下方添加线条和空格来描述较低的音符。例如，五线谱下方的第一个空格是 E: D 之前的第一个音符。五线谱下方的第一行是 D:C 之前的第一个音符。下图显示了标准五线谱下方的前几个音符。顺便说一句，五线谱下方的第一行是中C。

Just as you can add lines and spaces above the staff, you can also add lines and spaces below the staff to describe lower notes. For example, the first space below the staff is the first note before E: D. The first line below the staff is the first note before D: C. The following figure shows the first few notes below the standard staff. By the way, the first line below the staff is middle C.

注释在工作人员下面。

Notes below the staff.

不同的谱号

Different Clefs

到目前为止，我们一直在研究代表钢琴键盘上中 C 上方音符的五线谱。该五线谱的音符由五线谱开头出现的谱号类型决定，并且有多种不同类型的谱号。

Up till now, we’ve been looking at a staff that represents the notes just above middle C on the piano keyboard. The notes of this staff are determined by the type of clef that appears at the beginning of the staff—and there are several different types of clefs.

高音谱号。

The treble clef.

正如您已经了解到的，在现实世界中，高音谱号位于中音 C 的正上方。高音谱号的底线是 E；最上面一行是 F。

As you’ve already learned, in real-world terms the treble clef is positioned just above middle C. The bottom line of the treble clef staff is an E; the top line is an F.

像所有谱号一样，高音谱号固定单个音高的位置，从中您可以找出所有其余音符的位置。就高音谱号而言，它固定的音高是 G，它是五线谱上的第二条线。（如果你仔细观察高音谱号本身，你会发现大圆形谱号的一部分围绕五线谱的第二行。）因此，高音谱号有时被称为 G 谱号，而谱号本身看起来有点像大写 G。

The treble clef, like all clefs, fixes the position of a single pitch, from which you can figure out where all the rest of the notes go. In the case of the treble clef, the pitch it fixes is G, which is the second line on the staff. (If you look closely at the treble clef itself, you see that the big round part of the clef circles around the second line of the staff.) For this reason, the treble clef is sometimes called the G clef—and the clef itself looks a little like a capital G.

如果您很难记住哪个音符与五线谱上的哪行或空格对应，这里有一个简单的方法来记住它们。高音谱号的线从下到上分配给音符 E、G、B、D 和 F。您可以通过回忆短语“Every Good Boy Did Fine”中的第一个字母来记住这些线。高音谱号的空格从下到上分配给音符 F、A、C 和 E。您可以通过记住单词“FACE”来记住空格。

If you ever have trouble remembering which note goes with which line or space on a staff, here’s an easy way to remember them. The lines of the treble clef staff are assigned, bottom to top, to the notes E, G, B, D, and F. You can remember the lines by recalling the first letters in the phrase “Every Good Boy Does Fine.” The spaces of the treble clef staff are assigned, bottom to top, to the notes F, A, C, and E. You can remember the spaces by remembering the word “FACE.”

大多数高音乐器和声音都使用高音谱号。这包括小号、长笛、单簧管和吉他，以及演唱女高音、女低音和男高音部分的歌手。

Most higher-pitched instruments and voices use the treble clef. This includes trumpets, flutes, clarinets, and guitars, as well as singers singing the soprano, alto, and tenor parts.

这是低音谱号的外观，带有低音谱号五线谱的音符：

Here’s what the bass clef looks like, with the notes of a bass clef staff:

低音谱号。

The bass clef.

大多数低音调乐器和声音都使用低音谱号。这包括长号、大号、低音吉他和演唱低音部分的歌手。

Most lower-pitched instruments and voices use the bass clef. This includes trombones, tubas, bass guitars, and singers singing the bass part.

记住低音谱号的一个简单方法是使用短语“Good Boys Do Fine Always”。（每个单词的第一个字母从下到上描述了五线谱的每一行。）要记住低音谱号的空格，请记住短语“All Cows Eat Grass”中的第一个字母。

An easy way to remember the lines of the bass clef is with the phrase “Good Boys Do Fine Always.” (The first letter of each word describes each line of the staff, from bottom to top.) To remember the spaces of the bass clef, remember the first letters in the phrase “All Cows Eat Grass.”

伟大的员工

The Grand Staff

如果您弹奏或创作钢琴，您还需要了解另一位工作人员。该谱表称为大谱表，将高音谱表谱表和低音谱表谱表连接在一起。（那是因为你用两只手弹钢琴；每个五线谱大致对应于每只手。）

If you play or write for piano, there’s another staff you need to know. This staff, called the grand staff, links together a treble clef staff and a bass clef staff. (That’s because you play the piano with two hands; each staff roughly corresponds to each hand.)

伟大的员工是这样的：

The grand staff looks like this:

伟大的员工。

The grand staff.

当您使用大五线谱时，请务必注意两根五线谱整齐地相互融合。低音谱号顶部的 A 在该谱表上方延伸到 B 和 C。然后，C 链接到高音谱号，继续向上延伸到 D，然后是高音谱号底线上的 E。

When you use a grand staff, it’s important to note that the two staffs neatly flow into each other. The A at the top of the bass clef extends above that staff to a B and a C. The C is then linked to the treble clef, goes on up to a D, and then the E on the bottom line of the treble clef.

巧妙的是，C（恰好是中间的 C）位于每根谱线的中间。因此，当您在大谱表上写下中音 C 时，它可能会从高音谱号谱表向下延伸，或从低音谱号谱表向上延伸，具体取决于周围音符的放置位置。

The neat thing is that the C—which just happens to be middle C—is halfway between each staff. So when you write a middle C on a grand staff, it might extend down from the treble clef staff or extend up from the bass clef staff, depending on where the surrounding notes are placed.

专业谱号

Specialty Clefs

有一些专业谱号是您必须学习的，尽管您可能不会经常使用它们。这些谱号专为那些音域不适合传统高音或低音谱号的乐器而设计。

There are a handful of specialty clefs you must learn, although you probably won’t use them much. These clefs are designed for instruments whose ranges don’t fit comfortably within the traditional treble or bass clefs.

最常见的专业谱号之一是中音谱号，如下所示：

One of the most common specialty clefs is the alto clef, shown here:

中音谱号。

The alto clef.

中音谱号主要由中提琴使用，中提琴是小提琴的稍大版本。该谱号上的指针指向中间 C，即第三条线，位于五线谱的正中间。

The alto clef is used primarily by the viola, which is a slightly bigger version of a violin. The pointer on this clef points at middle C, which is the third line, in the exact middle of the staff.

次中音谱号看起来很像中音谱号，只是指针指向不同的线。（它仍然指向中 C，但中 C 位于五线谱上的不同点。）次中音谱号看起来像这样，有时由巴松管、低音小提琴和次中音长号使用。

The tenor clef looks a lot like the alto clef, except the pointer points at a different line. (It still points to middle C, but middle C is positioned at a different point on the staff.) The tenor clef looks like this, and is sometimes used by bassoons, bass violins, and tenor trombones.

男高音谱号。

The tenor clef.

尽管还有其他几个专业谱号（包括男中音、低音提琴和法国小提琴谱号），但您可能不会经常遇到它们；它们没有被广泛使用。但是，您可能会遇到所谓的八度谱号，它看起来像普通的高音或低音谱号，在谱号上方或下方有数字 8。当您看到这种类型的谱号时，您应该将正常的高音谱号音符向上（如果 8 在谱号上方）或向下（如果 8 在谱号下方）移调一个八度。

Although there are several other specialty clefs (including the baritone, subbass, and French violin clefs), you probably won’t run into them too often; they’re not widely used. However, you might run into what is called an octave clef, which looks like a normal treble or bass clef with the number 8 either above or below the clef. When you see this type of clef, you’re supposed to transpose the normal treble clef notes either up (if the 8 is above the clef) or down (if the 8 is below the clef) an octave.

八度谱号。

Octave clefs.

打击乐谱号

The Percussion Clef

您还应该了解另外一个谱号，它确实是所有谱号中最简单的一个。当您为鼓和其他打击乐器（不演奏固定音高的乐器）创作时，会使用此谱号。它被称为打击乐谱号或不定音高谱号，可以用以下两种方式之一编写：

There’s one more clef you should know, and it’s really the easiest of them all. This clef is used when you’re writing for drums and other percussion instruments—those that don’t play a fixed pitch. It’s called either the percussion clef or the indefinite pitch clef, and it can be written one of two ways:

打击乐谱号——版本一和版本二。

The percussion clef—version one and version two.

这个谱号的巧妙之处在于，线条和空间不对应于任何特定的音高。相反，您可以将不同的乐器分配给五线谱的不同部分。

The neat thing about this clef is that the lines and spaces don’t correspond to any specific pitches. Instead, you assign different instruments to different parts of the staff.

例如，如果您正在为鼓组写作，则可以将低音鼓分配到底部空间，将军鼓分配到第三个空间，并将两个桶鼓分配到第二个和第四个空间；您可以将镲片放在五线谱的顶线上。

For example, if you’re writing for drum set, you might assign the bass drum to the bottom space, the snare drum to the third space, and two tom-toms to the second and fourth spaces; you can put the ride cymbal on the top line of the staff.

练习

Exercises

练习1-1

Exercise 1-1

在注释下方写下每个注释的名称。

Write the name of each note below the note.

练习1-2

Exercise 1-2

在注释下方写下每个注释的名称。

Write the name of each note below the note.

练习1-3

Exercise 1-3

将每条注释写在五线谱上。

Write each note on the staff.

练习1-4

Exercise 1-4

将每条注释写在五线谱上。

Write each note on the staff.

练习1-5

Exercise 1-5

在五线谱上画出指定的谱号。

Draw the indicated clefs on the staff.

练习1-6

Exercise 1-6

将以下注释写在五线谱上方。

Write the following notes above the staff.

练习1-7

Exercise 1-7

在五线谱下方写下以下注释。

Write the following notes below the staff.

您至少需要知道的

The Least You Need to Know

• 音乐是按特定模式排列的一系列音调；音调是以特定音高演奏或演唱的声音。
• Music is a succession of tones arranged in a specific pattern; a tone is a sound that is played or sung at a specific pitch.
• 有许多不同的方法来描述特定的音调。您可以通过振动频率、与其他音高相比的数字位置或使用 Do Re Mi（视唱练耳）方法来描述音高。
• There are many different ways to describe a specific pitch. You can describe a pitch by its vibration frequency, by where it lies numerically compared to other pitches, or by using the Do Re Mi (Solfeggio) method.
• 既定的乐谱将字母分配给七个基本音高（A 到 G）。当您生成更高的音高时，这些字母会重复。
• Established music notation assigns letters to the seven basic pitches, A through G. The letters repeat as you generate higher pitches.
• 音高被分配给钢琴键盘上的特定键，以及乐谱上的特定线和空间。
• Pitches are assigned to specific keys on a piano keyboard, and to specific lines and spaces on a musical staff.
• 位于五线谱开头的谱号决定了哪些音符出现在五线谱上的位置。最常用的谱号是高音谱号；低音谱号用于低音乐器和声音。
• The clef placed at the start of a staff determines which notes appear where on the staff. The most used clef is the treble clef; the bass clef is used for lower-pitched instruments and voices.

第三章

CHAPTER

3

秤

Scales

在这一章当中

In This Chapter

• 将八个音符放在一起形成一个音阶
• Putting eight notes together to form a scale
• 创建大调和小调音阶
• Creating major and minor scales
• 发现大调范围内的不同调式
• Discovering the different modes within a major scale

第 3 课，第 24 轨

Lesson 3, Track 24

在前两章中，我们讨论了七个要点（A 到 G），以及它们之间的相互关系。我们还用“音阶”这个词来描述所有七个音符。

In the first two chapters we discussed the seven key notes (A through G), and how they relate to each other. We also tossed around the word “scale” to describe all seven of those notes together.

在本章中，我们进一步研究音阶的概念，（毫不奇怪）它是按字母顺序连续排列的七个音符。（如果数第一个音符，在音阶顶部重复高八度，则为八个音符。）

In this chapter we further examine the concept of the musical scale, which (no surprise) is seven notes all in a row, in alphabetical order. (If you count the first note, repeated an octave higher at the top of the scale, it’s eight notes.)

令人惊讶的是，音阶有这么多不同类型。您可以有大调音阶、小调音阶（实际上是三种不同类型的小调音阶）或音阶内任意数量的不同调式。这听起来很令人困惑，但是一旦您了解音阶是如何构建的，并在不同音符之间使用不同的音程，它实际上就相当简单了。（你问什么是模式？你必须阅读整章才能找到答案！）

What might be surprising is that there are so many different types of scales. You can have a major scale, a minor scale (three different types of minor scales, actually), or any number of different modes within a scale. It sounds confusing, but it’s really fairly simple once you understand how scales are constructed, using different intervals between the various notes. (What’s a mode, you ask? You’ll have to read this entire chapter to find out!)

音阶很重要，因为你用它们来创作旋律，你将在第 8 章中了解这一点。事实上，您只需从音符中选取音符即可创作出动听的旋律。单一大调音阶。例如，使用 C 大调音阶（钢琴上的白色音符）并挑选一起演奏时听起来不错的音符。确保你的旋律在 C 音符上开始和结束，并且你刚刚写了一首简单的歌曲。

Scales are important because you use them to create melodies, which you’ll learn about in Chapter 8. In fact, you can create a nice-sounding melody just by picking notes from a single major scale. For example, use the C Major scale (the white notes on a piano) and pick and choose notes that sound good when played together. Make sure you start and end your melody on the C note itself, and you’ve just written a simple song.

八个音符等于一个音阶

Eight Notes Equal One Scale

简单来说，音阶就是一个八度范围内的八个连续音高。所有音阶都以一个音符开始，以高一个八度的同一音符结束。

A scale is, quite simply, eight successive pitches within a one-octave range. All scales start on one note and end on that same note one octave higher.

例如，每个C音阶都以C开始，以C结束；F 音阶以 F 开始，以 F 结束；它们之间还有六个音符。

For example, every C scale starts on C and ends on C; an F scale starts on F and ends on F; and they all have six more notes in between.

音阶的八个音符；在本例中，C 大调。

The eight notes of a scale; C Major, in this instance.

音阶的第一个音符称为音阶的主音或一级。毫不奇怪，第二个音符被称为二度，第三个音符被称为三度，依此类推，直到你到达第八个音符，它又是主音。

The first note of a scale is called the tonic, or first degree, of the scale. Not surprisingly, the second note is called the second degree, the third note is called the third degree, and so on—until you get to the eighth note, which is the tonic again.

八音音阶规则的主要例外是包含一个八度内所有音符的音阶，包括所有升号和降号。这种类型的音阶称为半音音阶，并且（当您从 C 开始时）看起来像这样：

The major exception to the eight-note scale rule is the scale that includes all the notes within an octave, including all the sharps and flats. This type of scale is called a chromatic scale, and (when you start with C) looks something like this:

C半音阶。顶部工作人员使用锐器显示刻度；底部的工作人员使用单位显示比例。

The C chromatic scale. The top staff shows the scale using sharps; the bottom staff shows the scale using flats.

现在，任何给定的尺度在不同程度之间都具有特定的关系。这就是描述不同类型音阶的方式：大调音阶的特定音符之间的音程与类似小调音阶中的音阶之间的音程不同。这些不同的音程赋予每种类型的音阶独特的声音。

Now, any given scale has specific relationships between the different degrees of the scale. That’s how you can describe different types of scales: a major scale has different intervals between specific notes from those you’ll find in a similar minor scale. These different intervals give each type of scale its unique sound.

最常见的音阶称为大调音阶。大调音阶是快乐音阶；他们每次都有令人愉快和预期的间歇。（只需唱“Do Re Mi Fa So La Ti Do”，您就会听到这种令人愉悦的音质。）

The most common scale is called the major scale. Major scales are happy scales; they have pleasant and expected intervals at every turn. (Just sing “Do Re Mi Fa So La Ti Do” and you’ll hear this pleasant quality.)

大调音阶的镜像是小调音阶。小调音阶是悲伤的音阶；音符之间的间隔听起来有点压抑。

The mirror image of the major scale is the minor scale. Minor scales are sad scales; the intervals between the notes sound a little depressing.

大调和小调音阶都可以从任何音符开始——从降A到升G。无论您从哪个音符开始，每个音阶都有其特定的音符之间的音程组合。

Both major and minor scales can start on any note—from A-flat to G-sharp. No matter which note you start with, each scale has its own specific combination of intervals between notes.

以下部分将更详细地介绍大调和小调音阶。

The following sections go into more detail about both major and minor scales.

大调音阶

Major Scales

大调音阶的构成是音阶音符之间的特定音程。每个大调音阶都使用相同的音程，如下表所示。

What makes a major scale major are the specific intervals between the notes of the scale. Every major scale uses the same intervals, as shown in the following table.

大调音阶的音程

The Intervals of the Major Scale

笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	2 2
第二 Second	2 2
第三 Third	1 1
第四 Fourth	2 2
第五 Fifth	2 2
第六 Sixth	2 2
第七 Seventh	1 1

换句话说，大调音阶的音程如下：全、全、半、全、全、全、半。

Put another way, the intervals in a major scale go like this: whole, whole, half, whole, whole, whole, half.

如果您以 C（C 大调音阶）开始大调音阶，您最终会在钢琴上弹奏所有白键。C 大调是唯一只使用白键的大调音阶；所有其他音阶都有黑键。

If you start your major scale on C (the C Major scale), you end up playing all white keys on the piano. C Major is the only major scale that uses only the white keys; all the other scales have black keys in them.

为了方便您，下表列出了 15 个大调音阶的所有音符。

To make things easier for you, the following table shows all the notes in the 15 major scales.

请注意，其中几个音阶是等音的。（还记得第一章中的那个词吗？它的意思是两个相同的音符，但拼写不同。）所以升 C 大调和降 D 大调只是描述相同音符的不同方式，升 F 大调和 G 也是如此。降大调、B 大调和降 C 大调。

Note that several of these scales are enharmonic. (Remember that word from Chapter 1? It means two notes that are identical, but spelled differently.) So C-sharp Major and D-flat Major are just different ways of describing the same notes, as are F-sharp Major and G-flat Major, and B Major and C-flat Major.

小调音阶

Minor Scales

小调音阶听起来比大调音阶稍微不那么“向上”。部分原因是小调音阶的第三个音符是小音程，而大调音阶的第三个音符是大调音程。小三度和大三度之间的那个小半音使世界变得不同！

Minor scales sound a little less “up” than major scales. This is partly because the third note of the minor scale is a minor interval, whereas the third note of the major scale is a major interval. That little half step between a minor third and a major third makes all the difference in the world!

不要让您感到困惑，虽然大调音阶只有单一类型，但小调音阶实际上有三种类型：自然音阶、和声音阶和旋律音阶。我们将分别研究每个尺度。

Not to confuse you, but whereas there was a single type of major scale, there actually are three types of minor scales: natural, harmonic, and melodic. We’ll look at each scale separately.

自然未成年人

Natural Minor

最容易构建的小调音阶是自然小调音阶。您可以根据相应的大调音阶来思考自然小调。当您以第六音符开始和结束大调音阶时，您会得到自然的小调音阶，而不是主音。

The easiest minor scale to construct is the natural minor scale. You can think of the natural minor in terms of its corresponding major scale. When you start and end a major scale on the sixth note, instead of the tonic, you get a natural minor scale.

下面是一个示例：弹奏 C 大调音阶 (CDEFGABC)。现在将五个音符向上移动到第六个音符，或者仅向下移动两个音符。（这是同样的事情——向上五个或向下两个——都把你放在A上。）现在演奏一个八音符音阶，但使用C大调的音符。您得到的是 A 小调（自然）音阶 ABCDEFGA。

Here’s an example: play a C Major scale (C D E F G A B C). Now move up five notes to the sixth note—or just move down two notes. (It’s the same thing—up five or down two—both put you on the A.) Now play an eight-note scale, but using the notes in C Major. What you get—A B C D E F G A—is the A minor (natural) scale.

正如您所看到的，每个自然小音阶与特定大调音阶具有相同的音调。下表显示了哪些小调音阶与哪些大调音阶相匹配。

As you can see, each natural minor scale shares the same tones as a specific major scale. The following table shows you which minor scales match up with which major scales.

相对大调和小调音阶

Relative Major and Minor Scales

大调音阶 Major Scale	相关自然小调音阶 Related Natural Minor Scale
C大调 C Major	未成年人 A minor
升C大调 C-sharp Major	升A小调 A-sharp minor
降D大调 D-flat Major	降B小调 B-flat minor
D大调 D Major	B小调 B minor
降E大调 E-flat Major	C小调 C minor
E大调 E Major	降 D（升 C）小调 D-flat (C-sharp) minor
F大调 F Major	D小调 D minor
升F大调 F-sharp Major	升D小调 D-sharp minor
降G大调 G-flat Major	降E小调 E-flat minor
G大调 G Major	E小调 E minor
降A大调 A-flat Major	F小调 F minor
一个主要的 A Major	升F小调（降G小调） F-sharp (G-flat) minor
降B大调 B-flat Major	G小调 G minor
B大调 B Major	升G小调 G-sharp minor
降C大调 C-flat Major	降A小调 A-flat minor

每个自然小调音阶都使用相同的音程，如下表所示。

Every natural minor scale uses the same intervals, as shown in the following table.

自然小调音阶的音程

The Intervals of the Natural Minor Scale

笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	2 2
第二 Second	1 1
第三 Third	2 2
第四 Fourth	2 2
第五 Fifth	1 1
第六 Sixth	2 2
第七 Seventh	2 2

换句话说，自然小调音阶中的音程是这样的：全、半、全、全、半、全、全。

Put another way, the intervals in a natural minor scale go like this: whole, half, whole, whole, half, whole, whole.

为了让您更方便，下表列出了 15 个自然小调音阶的所有音符。

To make things easier for you, the following table shows all the notes in the 15 natural minor scales.

15个自然小调音阶

The 15 Natural Minor Scales

规模 Scale	笔记 Notes
C小调 C minor
升C小调 C-sharp minor
D小调 D minor
升D小调 D-sharp minor
降E小调 E-flat minor
E小调 E minor
F小调 F minor
升F小调 F-sharp minor
G小调 G minor
升G小调 G-sharp minor
降A小调 A-flat minor
未成年人 A minor
升A小调 A-sharp minor
降B小调 B-flat minor
B小调 B minor

和声小调

Harmonic Minor

和声小音阶与自然小音阶类似，只是第七个音符提高了半音。一些音乐家更喜欢这种类型的小调音阶，因为第七音符更好地引导音阶的主音。（这是主音的半音，而不是自然小调音阶的全音。）

The harmonic minor scale is similar to the natural minor scale, except the seventh note is raised a half step. Some musicians prefer this type of minor scale because the seventh note better leads up to the tonic of the scale. (It’s a half step up to the tonic, as opposed to the whole step in the natural minor scale.)

下表详细说明了和声小调音阶中音符之间的音程。

The following table details the intervals between the notes in the harmonic minor scale.

和声小调音阶的音程

The Intervals of the Harmonic Minor Scale

笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	2 2
第二 Second	1 1
第三 Third	2 2
第四 Fourth	2 2
第五 Fifth	1 1
第六 Sixth	3 3
第七 Seventh	1 1

换句话说，和声小调音阶中的音程是这样的：全，半，全，全，半，全半，半。

Put another way, the intervals in a harmonic minor scale go like this: whole, half, whole, whole, half, whole and a half, half.

为了让您更方便，下表显示了 15 个和声小音阶中的所有音符。

To make things easier for you, the following table shows all the notes in the 15 harmonic minor scales.

15 个和声小音阶

The 15 Harmonic Minor Scales

规模 Scale	笔记 Notes
C小调 C minor
升C小调 C-sharp minor
D小调 D minor
升D小调 D-sharp minor
降E小调 E-flat minor
E小调 E minor
F小调 F minor
升F小调 F-sharp minor
G小调 G minor
升G小调 G-sharp minor
降A小调 A-flat minor
未成年人 A minor
升A小调 A-sharp minor
降B小调 B-flat minor
B小调 B minor

注意：您在上表中的几个注释之前看到的“x”是双升号。这意味着您将基调提高两个半音。

Note: the “x” you see before several of the notes in the previous table is a double sharp. It means you raise the base note two half steps.

旋律小调音阶的音程

The Intervals of the Melodic Minor Scale

笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	2 2
第二 Second	1 1
第三 Third	2 2
第四 Fourth	2 2
第五 Fifth	2 2
第六 Sixth	2 2
第七 Seventh	1 1

换句话说，旋律小调音阶中的音程是这样的：全、半、全、全、全、全、半。

Put another way, the intervals in the melodic minor scale go like this: whole, half, whole, whole, whole, whole, half.

为了让您更方便，下表列出了 15 个旋律小音阶的所有音符。

To make things easier for you, the following table shows all the notes in the 15 melodic minor scales.

15个旋律小调音阶

The 15 Melodic Minor Scales

规模 Scale	笔记 Notes
C小调 C minor
升C小调 C-sharp minor
D小调 D minor
升D小调 D-sharp minor
降E小调 E-flat minor
E小调 E minor
F小调 F minor
升F小调 F-sharp minor
G小调 G minor
升G小调 G-sharp minor
降A小调 A-flat minor
未成年人 A minor
升A小调 A-sharp minor
降B小调 B-flat minor
B小调 B minor

好像三个小调音阶不足以处理，一些音乐理论家仅在您要“提高”音阶时才使用这种旋律小调音阶。（他们称之为上升旋律小调音阶。）回到“下降”（下降旋律小调 音阶），他们使用自然小调音阶中的音符。因此，第六度和第七度在向上的过程中升高，但在向下的过程中不升高。理论家是然而，在这个问题上存在分歧；有些使用上升和下降的旋律小调音阶，有些则使用两种不同的音阶。只要您知道做事的替代方法，就可以使用此处介绍的单一比例。

As if three minor scales weren’t enough to deal with, some music theorists use this melodic minor scale only when you’re going “up” the scale. (They call this the ascending melodic minor scale.) Going back “down” (the descending melodic minor scale), they use the notes in the natural minor scale. So the sixth and the seventh degrees are raised on the way up, but not on the way down. Theorists are split on this issue, however; some use the melodic minor scale both ascending and descending, and others use the two different scales. It’s okay to use a single scale, as presented here, as long as you’re aware of the alternate way of doing things.

在模式中

In the Mode

如果音阶是八个连续音符的组合（当然是按字母顺序排列），那么任何八个音符都可以构成一个音阶吗？不必要。一旦你通过了大调和小调音阶，所有其他八音组合在技术上就不再被称为音阶；而是被称为音阶。它们被称为模式。

If a scale is a combination of eight successive notes (in alphabetical order, of course), do any eight notes make a scale? Not necessarily. Once you get past the major and minor scales, all the other eight-note combinations aren’t technically called scales; they’re called modes.

有七种基本模式，您可以将每种模式视为从大调音阶的不同程度开始。你保持在相对大调音阶内；你只是从不同的音符开始。例如，多里安调式从大调音阶的第二度开始。就 C 大调音阶而言，多利安调式从 D 开始，并继续向上（D、E、F、G、A、B、C、D）。弗里吉亚调式也是如此，它从相关大调音阶的第三度开始——C 大调：E、F、G、A、B、C、D、E。

There are seven essential modes, each of which you can think of as starting on a different degree of the major scale. You stay within the relative major scale; you just start on different notes. For example, the Dorian mode starts on the second degree of the major scale. In relation to the C Major scale, the Dorian mode starts on D, and continues upward (D, E, F, G, A, B, C, D). The same holds true for the Phrygian mode, which starts on the third degree of the related major scale—in C Major: E, F, G, A, B, C, D, E.

当您构建旋律时，模式很重要。当您根据特定模式创建旋律时，您可以在保留传统大调音阶的音符的同时创建不同的声音或感觉。您只需在不同的地方开始和停止即可。（基于特定调式的旋律称为调式旋律。）

Modes are important when you’re constructing melodies. When you create a melody based on a specific mode, you get to create a different sound or feel while staying within the notes of a traditional major scale. You just start and stop in different places. (Melodies based around specific modes are called modal melodies.)

C 爱奥尼亚调式由以下音符组成：

The C Ionian mode consists of the following notes:

C 爱奥尼亚调式——就像 C 大调音阶一样。

The C Ionian mode—just like the C Major scale.

多利安

Dorian

多利安调式可以被认为是从大调音阶的第二个音符开始。它听起来有点像自然小调音阶，但有升高的六度。（要了解 Dorian 调式听起来是什么样子，请听听 Simon 和 Garfunkel 的《斯卡伯勒集市》；它完全是用 Dorian 调式创作的。） Dorian 调式中音符之间的间隔如下。

The Dorian mode can be thought of as starting on the second note of a major scale. It sounds a little like a natural minor scale, but with a raised sixth. (To get an idea what Dorian mode sounds like, listen to Simon and Garfunkel’s “Scarborough Fair”; it’s composed entirely in Dorian mode.) The intervals between notes in the Dorian mode are as follows.

D Dorian调式，相对于C调。

D Dorian mode, relative to the key of C.

弗里吉亚语

Phrygian

弗里吉亚调式可以被认为是从相关大调音阶的第三个音符开始。与多里安调式一样，它听起来像是自然的小调音阶，但第二度较低。弗里吉亚调式中音符之间的间隔如下。

The Phrygian mode can be thought of as starting on the third note of the related major scale. Like the Dorian mode, it sounds like a natural minor scale—but with a lowered second degree. The intervals between notes in the Phrygian mode are as follows.

弗里吉亚调式的音程

The Intervals of the Phrygian Mode

E 弗里吉亚语与 C 调相关，由以下音符组成：

E Phrygian is relative to the key of C, and consists of the following notes:

E 弗里吉亚调式，相对于 C 调。

E Phrygian mode, relative to the key of C.

吕底亚语

Lydian

吕底亚调式可以被认为是从大调音阶的第四个音符开始。这是一个几乎大调的音阶，但有升高的第四音阶。吕底亚调式中音符之间的音程如下。

The Lydian mode can be thought of as starting on the fourth note of a major scale. It’s an almost-major scale, but with a raised fourth. The intervals between notes in the Lydian mode are as follows.

吕底亚调式的音程

The Intervals of the Lydian Mode

笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	2 2
第二 Second	2 2
第三 Third	2 2
第四 Fourth	1 1
第五 Fifth	2 2
第六 Sixth	2 2
第七 Seventh	1 1

F Lydian调式与C调相关，由以下音符组成：

F Lydian mode is relative to the key of C, and consists of the following notes:

F Lydian调式，相对于C调。

F Lydian mode, relative to the key of C.

混合吕底亚语

Mixolydian

Mixolydian 模式可以被认为是从相关大调音阶的第五个音符开始。与吕底亚调式一样，它听起来像是大调，但在这种情况下，第七度降低。Mixolydian 调式中音符之间的间隔如下表所示。

The Mixolydian mode can be thought of as starting on the fifth note of the related major scale. Like the Lydian mode, it’s sort of major sounding, but in this case with a lowered seventh. The intervals between notes in the Mixolydian mode are as shown in the following table.

混合利底阶的音程

The Intervals of the Mixolydian

笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	2 2
第二 Second	2 2
第三 Third	1 1
第四 Fourth	2 2
第五 Fifth	2 2
第六 Sixth	1 1
第七 Seventh	2 2

G Mixolydian调式与C调相关，由以下音符组成：

G Mixolydian mode is relative to the key of C and consists of the following notes:

C调的G Mixolydian调式。

G Mixolydian mode in the key of C.

风神

Aeolian

风神调式包含与自然小调音阶完全相同的音符。它可以被认为是从相关大调音阶的第六个音符开始。Aeolian 调式中音符之间的间隔如下。

The Aeolian mode contains the exact same notes as the natural minor scale. It can be thought of as starting on the sixth note of the related major scale. The intervals between notes in the Aeolian mode are as follows.

风模的间隔

The Intervals of the Aeolian Mode

笔记 Note	半步到下一个音符 Half Steps to Next Note
笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	2 2
第二 Second	1 1
第三 Third	2 2
第四 Fourth	2 2
第五 Fifth	1 1
第六 Sixth	2 2
第七 Seventh	2 2

当您演奏布鲁斯和爵士乐曲时，您会经常使用 Aeolian 模式。Aeolian 与 C 调相关，由以下音符组成：

You use the Aeolian mode a lot when you play blues and jazz tunes. A Aeolian is relative to the key of C, and consists of the following notes:

风神调式，相对于 C 调。

A Aeolian mode, relative to the key of C.

洛克里安

Locrian

洛克里安调式可以被认为是从相关大调音阶的第七个音符开始。这可能是所有调式中听起来最奇怪的，因为所有主音符都在错误的位置。在过去，Locrian只是一种仅存在于理论上的模式；它没有用于实际音乐中。然而，如今，洛克里安模式已用于一些爵士乐和一些新音乐作品中。Locrian调式中音符之间的间隔如下。

The Locrian mode can be thought of as starting on the seventh note of the related major scale. It’s probably the weirdest sounding of all the modes, because all the leading notes are in all the wrong places. Back in olden times, Locrian was a mode that existed in theory only; it wasn’t used in actual music. Today, however, the Locrian mode is used in some jazz music, and in some new music compositions. The intervals between notes in the Locrian mode are as follows.

Locrian模态的音程

The Intervals of the Locrian Mode

笔记 Note	半步到下一个音符 Half Steps to Next Note
补品 Tonic	1 1
第二 Second	2 2
第三 Third	2 2
第四 Fourth	1 1
第五 Fifth	2 2
第六 Sixth	2 2
第七 Seventh	2 2

B Locrian 与 C 大调相关，由以下音符组成：

B Locrian is relative to the key of C, and consists of the following notes:

B Locrian调式，相对于C调。

B Locrian mode, relative to the key of C.

练习

Exercises

练习3-1

Exercise 3-1

说出下列大调音阶的名称。

Name the following major scales.

练习3-3

Exercise 3-3

输入以下大调音阶的音符。

Enter the notes for the following major scales.

练习3-4

Exercise 3-4

输入以下小调音阶的音符。

Enter the notes for the following minor scales.

练习3-5

Exercise 3-5

说出与以下大调音阶相关的自然小音阶，并输入这些音阶的音符。

Name the natural minor scales related to the following major scales, and enter the notes for those scales.

您至少需要知道的

The Least You Need to Know

• 音阶由八个音符组成，其字母名称按连续的字母顺序排列。
• A scale consists of eight notes whose letter names are in successive alphabetical order.
• 音阶可以是大调或小调。（并且有三种不同类型的小调音阶！）
• Scales can be either major or minor. (And there are three different types of minor scales!)
• 所有大调音阶的不同音符之间都有相同的音程，无论它们从哪个音符开始。
• All major scales have the same intervals between different notes, no matter what note they start on.
• 调式就像音阶一样，由连续的八个音符组成，但不仅限于大调和小调。调式源自古希腊人和（后来的）中世纪教堂，可以被认为是从相关大调音阶的不同程度开始的。
• A mode, like a scale, consists of eight notes in a row—but aren’t limited to just major and minor. Modes are derived from the ancient Greeks and (later) the medieval church, and can be thought of as starting on different degrees of the related major scale.

第4章

CHAPTER

4

大调和小调

Major and Minor Keys

在这一章当中

In This Chapter

• 了解大调和小调
• Understanding major and minor keys
• 使用调号签名确定调号
• Determining key by using key signatures
• 使用五度圈
• Using the circle of fifths
• 应用记号和更改调
• Applying accidentals and changing keys

如果您正在创作 C 大调音阶的音乐，那么一切都会很容易。所有的音符都落在高音和低音谱号的线条和空间中；不需要升号或降号。（而且，如果您弹钢琴，则不必使用那些棘手的黑键！）

If you’re writing music within the C Major scale, you have it easy. All the notes fall in the lines and spaces of the treble and bass clefs; no sharps or flats are necessary. (And, if you’re playing the piano, you don’t have to use those tricky black keys!)

但是，如果您使用其他音阶创作音乐，则必须使用临时记号来升高和降低钢琴键盘上白键之外的音符。例如，如果您使用 F 大调音阶，则需要处理令人讨厌的降 B 调。

However, if you’re writing music using another scale, you have to use accidentals to raise and lower notes beyond the white keys on the piano keyboard. For example, if you’re using the F Major scale, you have a pesky B-flat to deal with.

现在，您可以在音乐中的每个降 B 调前面放置一个降调标志。然而，你最终会写出很多平底曲——这是一个很大的痛苦。

Now, you could put a flat sign in front of every B-flat in your music. However, you’ll end up writing a lot of flats—which is a major pain in the butt.

幸运的是，有一种简单的方法可以在整首音乐中指定一致的降号和升号，而无需注意每个实例。这种方法需要音调的知识——这恰好对应于我们在前一章中讨论的音阶。

Fortunately, there’s an easy way to designate consistent flats and sharps throughout an entire piece of music, without noting each and every instance. This approach requires the knowledge of musical keys—which just happen to correspond to the musical scales we discussed in the previous chapter.

成功的关键

Keys to Success

当一首音乐基于特定的音阶时，我们说音乐位于该音阶的“调”中。例如，一首基于 C 大调音阶的歌曲采用 C 大调。一首基于降 B 大调音阶的歌曲采用降 B 大调调。

When a piece of music is based on a particular musical scale, we say that music is in the “key” of that scale. For example, a song based around the C Major scale is in the key of C Major. A song based around the B-flat Major scale is in the key of B-flat Major.

当您为一首音乐（或一首较大乐曲中的某个部分）分配调时，假定该音乐中的大多数音符将保持在相应的音阶内。因此，如果一首曲子是用A大调写的，那么旋律和和弦中的大部分音符都应该在A大调音阶内。（当然，也有例外；它们被称为临时记号；本章稍后将讨论它们。）

When you assign a key to a piece of music (or to a section within a larger piece), it’s assumed that most of the notes in that music will stay within the corresponding scale. So if a piece is written in A Major, most of the notes in the melody and chords should be within the A Major scale. (There are exceptions to this, of course; they’re called accidentals; they’re discussed later in this chapter.)

使用调号

Using Key Signatures

为一首音乐分配特定调的一个方便之处在于，它使您能够预先指定适当的升号和降号，而不必每次在音乐中出现时都重复它们。

One of the convenient things about assigning a particular key to a piece of music is that it enables you to designate the appropriate sharps and flats up front, without having to repeat them every time they occur in the music.

这是它的工作原理。您可以通过在音乐的开头插入调号来指定调号，即第一个谱表的第一个谱号旁边。该调号表示该特定调中使用的升号和降号。然后，当您弹奏整首曲子时，您会自动锐化和压平适当的音符。

Here’s how it works. You designate a key by inserting a key signature at the very start of the music, next to the first clef on the first staff. This key signature indicates the sharps and flats used in that particular key. Then, when you play through the entire piece, you automatically sharpen and flatten the appropriate notes.

例如，假设您围绕 F 大调音阶写一首歌曲。如果您还记得的话，F 大调音阶有一个降音符：降 B。因此，在第一根谱表的第一个谱号旁边，您在 B 线上放置了一个降号。现在，当你播放那首歌时，每次看到 B 时，你实际上是在演奏降 B 调。

For example, let’s say you write a song around the F Major scale. The F Major scale, if you recall, has one flatted note: B-flat. So next to the first clef on the first staff, you put a flat sign on the B line. Now, when you play that song, every time you see a B, you actually play B-flat.

F 调的调号。（注意 B 线上的降号，表示自动降 B 调。）

The key signature for the key of F. (Note the flat sign on the B line, indicating the automatic B-flat.)

如果您弹奏 G 调，则同样适用，该调有一个升号：F 升号。你在第一根谱线的顶部 F 线上画了一个尖锐的符号；然后每次你看到 F 时，你都会弹奏升 F 音。

The same would apply if you were playing in the key of G, which has one sharp: F-sharp. You put a sharp sign on the top F line on the first staff; then every time you see an F, you play an F-sharp.

确定调号

Determining the Key Signature

如何快速确定您正在查看哪个调号？这取决于调号是包含升号还是降号。

How can you quickly determine which key signature you’re looking at? It depends on whether the key signature contains sharps or flats.

如果调号包含降号，则关键（无双关语）是查看倒数第二个降号——右侧最远降号旁边的降号。该音符决定调号。

If the key signature includes flats, the key (no pun intended) is to look at the next-to-last flat—the one next to the farthest one on the right. This note determines the key signature.

例如，如果一个调号有两个降调，您可以查看倒数第二个降调并确定该调是降 B 调，事实也确实如此。如果调号包含三个降号，您可以查看倒数第二个降号，并确定该调是降 E 号。这很容易。

For example, if a key signature has two flats, you look at the next-to-last flat and determine that the key is B-flat, which it is. If the key signature has three flats, you look at the next-to-last flat, and determine that the key is E-flat. It’s pretty easy.

但如果只有一套公寓怎么办？没有倒数第二套公寓！对于只有一个降号的调号，调是 F。您必须记住那个调，就像记住没有降号或升号的调一样，也就是 C 调。

But what do you do if there’s only one flat? There’s no next-to-last flat! For the key signature with a single flat, the key is F. You’ll have to memorize that one, as you will the key with no flats or sharps—which is the key of C.

如果调号包含升号，则方法不同。对于升号，要知道调号中的最后一个升号代表该特定音阶的第七度，因此音阶的主音是下一个音符。换句话说，看最后一个升号，接下来的升号才是关键。

If the key signature includes sharps, the method is different. With sharps, know that the last sharp in the key signature represents the seventh degree of that particular scale, so the tonic of the scale is the next note up. In other words, look at the last sharp, and the next note up is the key.

以升号的调号为例。该升号位于升 F 音符上，因此下一个向上的音符会告诉您该调是 G。如果调号有两个升号，则最后一个位于升 C 音符上，而下一个向上的音符是 D —这是你的钥匙。对于所有其他尖锐的调号，依此类推。

Take, for example, the key signature with one sharp. That sharp is on the note F-sharp, so the next note up tells you that the key is G. If the key signature has two sharps, the last one is on the note C-sharp, and the next note up is D—which is your key. And so on for all the other sharp key signatures.

大调

Major Keys

正如有15个大音阶（包括三个等音）一样，有15个大调；每个都有自己的调号。下表显示了这些调号中每个调的外观及其相应的音阶。

Just as there are 15 major scales (including three enharmonics), there are 15 major keys; each with its own key signature. The following table shows what each key of these key signatures looks like, along with its corresponding scale.

15 个主要按键

The 15 Major Keys

钥匙 Key	调号和音阶 Key Signature and Scale
C大调 C Major
升C大调 C-sharp Major
降D大调 D-flat Major
D大调 D Major
降E大调 E-flat Major
E大调 E Major
F大调 F Major
升F大调 F-sharp Major
降G大调 G-flat Major
G大调 G Major
降A大调 A-flat Major
一个主要的 A Major
降B大调 B-flat Major
B大调 B Major
降C大调 C-flat Major

小调

Minor Keys

用于指示大调的调号也可以表示自然小调。正如您在第 3 章中所记得的那样，自然小调音阶基于与大调音阶相同的音符，但从音阶的第六个音符开始。同样的方法也适用于调，因此（例如）A 小调的调使用与 C 大调相同的音符和相同的调号。

The key signatures used to indicate major keys also can represent natural minor keys. As you remember from Chapter 3, a natural minor scale is based on the same notes as a major scale, but starts on the sixth note of the scale. This same method applies to keys, so that (for example) the key of A minor uses the same notes—and the same key signature—as C major.

下表显示了 15 个小调及其相应的调号和音阶。

The following table shows the 15 minor keys, with their corresponding key signatures and scales.

15 个小调

The 15 Minor Keys

五度圈

The Circle of Fifths

有一种快速方法可以记住每个调号中包含多少个升号或降号；它被称为五度圈，它的工作原理如下。

There’s a quick way to remember how many sharps or flats to include with each key signature; it’s called the circle of fifths, and it works like this.

从 C 调开始，每向上移动一个纯五度，就添加一个升号。所以 G 调（C 上的纯五度）有一个升号。D 调（G 之上的纯五度）有两个升号，依此类推。

Starting with the key of C, for every perfect fifth you move up, you add a sharp. So the key of G (a perfect fifth up from C) has one sharp. The key of D (a perfect fifth up from G) has two sharps, and so on.

对于降音来说，五度圈的作用相反。从 C 向下移动一个完美的五度，就增加一个降音。所以 F 调（从 C 降下的纯五度）有一个降号。降 B 调（从 F 向下的纯五度）有两个降号，依此类推。

The circle of fifths works in the other direction for flats. For every perfect fifth you move down from C, you add a flat. So the key of F (a perfect fifth down from C) has one flat. The key of B-flat (a perfect fifth down from F) has two flats, and so on.

下图显示了五度圈中所有大调的关系。当您绕着圆圈顺时针移动时，您将向上移动五度音阶（和升调键）；当您逆时针移动时，您将向下移动五度（以及降调）。

The following drawing shows how all the major keys relate in the circle of fifths. When you move clockwise around the circle, you’re moving up through the fifths (and the sharp keys); when you move counterclockwise, you’re moving down through the fifths (and the flat keys).

所有大调在五度圈中都相隔五度。

All the major keys are a fifth apart in the circle of fifths.

下图显示了 15 个小调的五度圈。它的工作原理与主调圈相同；顺时针移动锐键，逆时针移动平键。

The next figure shows the circle of fifths for the 15 minor keys. It works just the same as the major-key circle; move clockwise for the sharp keys, and counterclockwise for the flat keys.

五度圈也适用于小调。

The circle of fifths works for minor keys, too.

意外将会发生

Accidents Will Happen

当您为一首音乐分配调号时，假定以下所有音符都将对应于该特定调。那么，如何指示不属于该调的音符呢？

When you assign a key signature to a piece of music, it’s assumed that all the following notes will correspond to that particular key. How, then, do you indicate notes that fall outside that key?

首先，请注意您可以在琴键外演奏。例如，当您使用 F 调（通常为降 B 调）时，偶尔弹奏自然 B 调是可以的。没有人会因此逮捕你——事实上，某些类型的音乐经常使用非音阶音符。

First, note that you can play outside a key. For example, it’s okay to play the occasional B natural when you’re in the key of F, which normally has a B-flat. No one will arrest you for it—in fact, certain types of music regularly employ nonscale notes.

当您决定编写不在当前调内的音符时，您必须通过使用升号、降号或自然符号来手动指示音乐中的变化。当音乐家看到插入的升号、降号或自然号时，他们知道要按照书面演奏音符，而不是按照音乐的调号指示演奏。

When you decide to write a note that isn’t within the current key, you have to manually indicate the change in the music—by using sharp, flat, or natural signs. When musicians see the inserted sharp, flat, or natural, they know to play the note as written, rather than as indicated by the music’s key signature.

这些“调外”音符称为临时记号或半音音符；它们很常见。

These “outside the key” notes are called accidentals or chromatic notes; they’re quite common.

例如，假设一首音乐采用 F 调，只有一个降调（降 B 调）。您希望您的旋律包含降E调，但它不在调中。因此，当您到达该音符时，您在 E 之前插入一个降号以表示降 E。就这么简单。

For example, let’s say a piece of music is in the key of F, which has only one flat (B-flat). You want your melody to include an E-flat, which isn’t in the key. So when you get to that note, you insert a flat sign before the E to indicate an E-flat. It’s as simple as that.

使用记号来指示当前调号之外的音符。

Use accidentals to indicate notes outside the current key signature.

如果您想在同一首乐曲中包含 B 自然音，而不是预期的降 B 调，则可以使用相同的方法。只需在 B 之前插入自然号即可。

The same approach applies if you want to include a B natural in the same piece, instead of the expected B-flat. Simply insert a natural sign before the B.

当您用临时记号更改音符时，临时记号将一直有效，直到当前小节结束。在下一个小节开始时，假设所有音符都恢复到当前调中应有的状态。因此，如果您在 F 大调旋律的第一小节中降 E，则您在第二小节中写的第一个 E 将被认为是自然的，而不是降的。

When you change a note with an accidental, that accidental applies until the end of the current measure. At the start of the next measure, it’s assumed that all notes revert to what they should be in the current key. So if you flat an E in measure one of an F Major melody, the first E you write in measure two will be assumed to be natural, not flatted.

当您将一个音符从一个小节的末尾连接到下一个小节的开头时，就会出现一个例外。由于并列，意外结转至第二小节中的第一个音符，如以下示例所示。（关系在第 5 章中进行了解释。）请注意，临时记号不适用于第二小节中的任何后续音符；它仅适用于捆绑票据。

The one exception occurs when you tie a note from the end of one measure to the beginning of the next. The accidental carries over—thanks to the tie—to that first note in the second measure, as you can see in the following example. (Ties are explained in Chapter 5.) Note that the accidental doesn’t apply to any subsequent notes in the second measure; it applies only to the tied note.

记号适用于与小节相关的所有音符。

Accidentals apply to all notes tied over a measure.

如果您认为其他音乐家可能对某个音符是否已恢复正常感到困惑，可以使用礼貌的升号、降号或自然符号。（这是一个放在括号内的符号。）这提醒读者注释已恢复到该键中的正常状态。您不必使用礼貌标志，但当音乐很复杂时，它会很有帮助。

If you think other musicians might be confused about whether a note has reverted back to normal, it’s okay to use a courtesy sharp, flat, or natural sign. (This is a sign placed within parentheses.) This reminds the reader that the note has reverted back to its normal state in that key. You don’t have to use courtesy signs, but when the music is complicated, it can be helpful.

一次礼貌的意外提醒音乐家，改变的音符已恢复正常。

A courtesy accidental reminds musicians that a changed note has reverted back to normal.

更改按键

Changing Keys

一些长音乐作品并不总是在整个作品中使用相同的调。事实上，一些简短的流行歌曲中途会改变调。这是允许的。

Some long pieces of music don’t always use the same key throughout the entire piece. In fact, some short pop songs change keys midway through. It’s allowed.

当您在歌曲中间更改调时，称为调制到另一个调。您可以调制到任何调，但最常见的调制是上半音（例如，从 E 大调到 F 大调），或上四度或五度（例如，从 E 大调到 A 大调或 B 大调） 。

When you change keys in the middle of a song, it’s called modulating to another key. You can modulate to any key, although the most common modulations are up a half step (from E Major to F Major, for example), or up a fourth or fifth (from E Major to either A Major or B Major, for example).

当您想要更改调时，可以通过在新调的第一个小节中插入新的调号来表明这一点。就这么简单，如下图所示。（请注意，每当有调性变化时，一些作曲家和编曲家也会插入双小节。）

When you want to change keys, you indicate this by inserting a new key signature in the first measure of the new key. It’s as simple as that, as you can see in the following figure. (Note that some composers and arrangers also insert a double bar whenever there’s a key change.)

要更改调号，请插入新的调号。

To change keys, insert a new key signature.

唯一复杂的调性变化是当您更改为 C 调时，它没有升号或降号。您可以通过使用自然符号来抵消之前的升号或降号来表明这一点，如下所示：

The only complicated key change is when you’re changing to the key of C—which has no sharps or flats. You indicate this by using natural signs to cancel out the previous sharps or flats, like this:

怎么改成C调.

How to change to the key of C.

练习

Exercises

练习4-1

Exercise 4-1

标记以下主要调号。

Label the following major key signatures.

练习4-2

Exercise 4-2

标记以下小调签名。

Label the following minor key signatures.

练习4-3

Exercise 4-3

创建指定的大调签名。

Create the indicated major key signatures.

练习4-4

Exercise 4-4

创建指定的小调签名。

Create the indicated minor key signatures.

练习4-5

Exercise 4-5

使用初始调号作为指导，在以下示例中标记每个音符。

Using the initial key signature as a guide, label each note in the following example.

练习4-6

Exercise 4-6

确定可以使用什么调号来编写这段没有记号的旋律，然后在五线谱的开头输入该调号。

Determine what key signature you could use to write this melody without accidentals, and enter that key signature at the beginning of the staff.

练习4-7

Exercise 4-7

确定可以使用什么调号来编写这段没有记号的旋律，然后在五线谱的开头输入该调号。

Determine what key signature you could use to write this melody without accidentals, and enter that key signature at the beginning of the staff.

您至少需要知道的

The Least You Need to Know

• 您使用调号来指示您的音乐基于什么音阶。
• You use key signatures to indicate what scale your music is based on.
• 调号中的升号和降号会自动应用到整首歌曲中。
• The sharps and flats in a key signature are automatically applied throughout the entire song.
• 要指示当前调之外的音符，请使用变记号 - 升号、降号和自然记号。
• To indicate notes outside the current key, use accidentals—sharps, flats, and natural signs.
• 要更改音乐中间的调，请插入新的调号。
• To change the key in the middle of a piece of music, insert a new key signature.

第5章

CHAPTER

5

注释值和基本符号

Note Values and Basic Notation

在这一章当中

In This Chapter

• 将节拍分组为小节
• Grouping beats into measures
• 了解全音符、二分音符、四分音符、八分音符、十六分音符和休止符
• Understanding whole, half, quarter, eighth, and sixteenth notes and rests
• 使用点音符和领带
• Using dotted notes and ties
• 将节拍分成三连音
• Dividing beats into triplets

第 4 课，第 27 课

Lesson 4, Track 27

本书的第 1 部分介绍了如何使用音高，但这只是您需要了解的音乐理论的一半。在本章中，我们将讨论方程的另一半，这就是你如何处理时间——在音乐中，这被称为节奏。

Part 1 of this book covered how to work with pitch—but that’s only half of the music theory that you need to know. In this chapter, we’ll deal with the other half of the equation, which is how you work with time—which, in music, is called rhythm.

节奏是推动音乐前进并赋予其节拍的动力。要学习节奏，您必须了解音符值。这种类型的乐谱实际上并不难。您需要学习的只是一些基础数学以及如何数到四。

Rhythm is what drives the music forward and gives it its beat. To learn rhythm, you have to learn about note values. This type of music notation isn’t that hard, really. All you need to learn is a little basic math and how to count to four.

然而，在开始之前，让我们为本章制定一些基本规则。尽管很多歌曲都是用四个节拍来写的——一、二、三、四——但这并不是通用的。一些非常流行的歌曲每小节只有三个节拍。（想想《音乐之声》中的“我最喜欢的东西” 。）而其他曲调，尤其是爵士乐和古典曲风，每小节都有四个以上的节拍。

Before we start, however, let’s lay down some ground rules for this chapter. Although a lot of songs are written with four beats to a measure—one, two, three, four—that isn’t a universal. Some very popular songs only have three beats to a measure. (Think “My Favorite Things,” from The Sound of Music.) And other tunes, especially in the jazz and classical genres, have more than four beats per measure.

为了更容易学习基础知识，在本章中我们只讨论四拍小节——我们称之为4/4 拍。所有其他类型的节拍——三拍、五拍、七拍等等——将在第 6 章中介绍。

To make it easier to learn the basics, in this chapter we’re only going to address four-beat measures—what we call 4/4 time. All the other types of beats—three, five, seven, whatever—will be covered in Chapter 6.

这就是为什么我说你只需要知道如何数到四！

And that’s why I said you only have to know how to count to four!

衡量事物

Taking the Measure of Things

节奏就是计数。聆听您最喜欢的流行歌曲，感受节奏。（来吧，用脚打点——没关系！）你可能会感觉到节拍分为四组——一、二、三、四；一二三四 …。这很容易听到，因为它非常自然。

Rhythm is about counting. Listen to your favorite pop song, and feel the beat. (Go ahead, tap your foot—it’s okay!) You’ll likely feel the beats fall into groups of four—one, two, three, four; one, two, three, four …. It’s easy to hear because it’s very natural.

让我们举一个具体的例子：“玛丽有一只小羊羔。” 这首歌的音符分为四个组；只需将“玛丽有一个”替换为“一二三四”，您就会看到它是如何工作的。

Let’s use a specific example: “Mary Had a Little Lamb.” The notes of the song fall into groups of four; just replace the words “Ma-ry had a” with “one two three four” and you see how it works.

在这首歌曲和其他以四拍为一组的歌曲中，每组四拍称为一个小节，是一个容纳特定数量节拍的容器。在标准 4/4 拍中，一个小节相当于四个四分音符。小节的开始和结束由小节线表示，如下所示：

In this and other songs based around groups of four, each group of four beats is called a measure, a container that holds a specific number of beats. In standard 4/4 time, a measure holds the equivalent of four quarter notes. The beginning and end of a measure are signified by bar lines, like this:

针对员工的一组措施；每个小节由左右小节线分隔。

A group of measures on a staff; each measure is separated by left and right bar lines.

小节中的第一拍算作一拍。第二拍算作二拍。第三拍算三拍，最后一拍算四拍。没有五个；如果你数出五，你就数太多了！每当你打到四时，下一拍总是一拍。

The first beat in a measure is counted as one. The second beat is counted as two. The third beat is counted as three, and the last beat is counted as four. There is no five; if you count out five, you’ve counted too far! Whenever you hit four, the next beat is always one.

每经过四个节拍——一、二、三、四——另一小节就完成了。如果你把足够多的措施放在一起——一、二、三、四；一、二、三、四——你有一首歌。

Every time four beats go by—one, two, three, four—another measure is completed. If you put enough measures together—one, two, three, four; one, two, three, four—you have a song.

做笔记——笔记

Taking Note—of Notes

每次您唱歌或演奏一个音调时，您也在唱歌或演奏一个音符值。音符值有不同类型，每个音符值表示特定的时间长度（以小节的各个部分来衡量）。

Every time you sing or play a tone, you’re also singing or playing a note value. There are different types of note values, with each note value signifying a specific length of time—as measured by parts of a measure.

为了更好地解释，我们必须了解一些数学知识。（不用担心，不会有任何故事问题！）您会看到，每个音符值持续特定的持续时间，每个持续时间反映了与持续时间的比率。从下图中可以看出，每个较短的音符恰好是前一个音符时长的一半。所以如果你能除以二并乘以二，这应该很容易。

To better explain, we have to get into a little math. (Don’t worry—there won’t be any story problems!) You see, each note value lasts a specific duration, and each duration reflects a ratio to duration. As you can see from the following figure, each shorter note is precisely half the duration of the previous note. So if you can divide and multiply by two, this should be easy.

最常见的节奏音符；每个较小的音符恰好是前一个音符的一半。

The most common rhythmic notes; each smaller note is exactly half the previous note.

完整笔记

Whole Notes

最基本的音符称为全音符。它被称为全音符，因为在 4/4 拍子中（我们很快就会讲到这一点——我保证！），它会持续一个小节。因为 4/4 拍子在一个小节中有四个节拍，所以整个音符持续四个节拍。整个音符看起来就像一个大的空椭圆形，美观而完整。

The most basic note is called the whole note. It’s called a whole note because, in 4/4 time (we’ll get to this soon—I promise!), it lasts a whole measure. Because 4/4 time has four beats in a measure, a whole note lasts four beats. A whole note looks like a big empty oval, nice and whole.

整个音符，位于五线谱的不同位置。

Whole notes, at different places on the staff.

当您将整个音符放入 4/4 拍的小节中时，这是该小节中唯一的音符；没有其他笔记可以容纳。当您演奏整个音符时，您会在小节的开头（第一拍）唱歌或演奏一次乐器，然后在整个小节中保持该音调。换句话说，一个完整的音符应该持续一个完整的小节。

When you put a whole note in a measure of 4/4 time, that’s the only note that goes in that measure; no other notes will fit. When you play a whole note, you sing or play your instrument once at the very beginning of the measure (on beat one), and then you hold that tone through the entire measure. In other words, one whole note should last a whole measure.

半音符

Half Notes

全音符是最大的音符；让我们缩小一个尺寸，看看下一个最小的音符。还记得我说过每个较短的音符恰好是前一个音符的一半吗？让我们应用一点数学知识，将整个音符除以二，看看我们会得到什么。

The whole note is the largest note; let’s go down one size and look at the next smallest note. Remember that I said each shorter note is exactly half the previous note? Let’s apply a little math and divide a whole note by two to see what we get.

下一个最小的音符称为二分音符。（它是全音符的一半——很简单，嗯？）因为全音符持续一个完整小节（无论如何，4/4），所以半音符持续半个小节或两个节拍——整个音符持续时间的一半。换句话说，您可以在一个小节中放入两个半音符，因为两个半音符等于一个全音符。

The next smallest note is called a half note. (It’s half of a whole note—pretty simple, eh?) Because a whole note lasts a whole measure (in 4/4, anyway), a half note lasts a half measure, or two beats—half the duration of a whole note. Put another way, you can put two half notes in a measure, because two half notes equal one whole note.

半音符看起来就像全音符，旁边有一条线。该线称为茎；它可以指向上方或下方，具体取决于音符的音高。如果符干朝下，则它位于符头的左侧。如果符干朝上，则它位于符头的右侧。

A half note looks like a whole note with a line next to it. The line is called a stem; it can point up or down, depending on the pitch of the note. If the stem points down, it sits to the left of the notehead. If the stem points up, it sits to the right of the notehead.

两个半音符——一个符干朝上；另一个的茎朝下。

Two half notes—one with the stem pointing up; the other with the stem pointing down.

当您弹奏半音符时，请确保音调持续完整的两拍。如果你在第一拍后放松，那么你就只演奏了半个半音符——这就是我们接下来要讨论的内容。

When you play a half note, make sure the tone lasts a full two beats. If you let up after the first beat, you’re playing only half a half note—which is what we’ll discuss next.

四分音符

Quarter Notes

我们继续吧。如果半个音符是半个全音符，那么半个半音符是什么？好吧，算一下，1/2 除以 2，就得到 1/4。这意味着半个二分音符是一个四分音符。

Let’s keep going. If a half note is half a whole note, what is half a half note? Well, do your math, and when you divide ½ by 2, you get ¼. This means half a half note is a quarter note.

如果二分音符持续两拍，那么四分音符（即持续时间的一半）持续一拍。换句话说，你可以在一个小节中放入四个四分音符；一拍一拍。当您随着最流行歌曲的节拍敲击脚时，您的脚正在敲击四分音符。一、二、三、四——每一个都是四分音符。

If a half note lasts two beats, then a quarter note—which is half that duration—lasts one beat. Put another way, you can fit four quarter notes in a measure; one to a beat. When you tap your foot to the beat of most popular songs, your foot is tapping quarter notes. One, two, three, four—each of those counts is a quarter note.

四分音符看起来像二分音符，但记号头已填满，如下所示：

A quarter note looks like a half note with the notehead filled in, as shown here:

两个不同的四分音符，指向两个方向。

Two different quarter notes, pointing in both directions.

八分音符

Eighth Notes

就像那些微型超级英雄蚁人和原子侠（取决于你是漫威还是 DC）一样，笔记也变得越来越小。同样，我们按照 2 比 1 的比率进行操作，因此我们将四分音符分成两半。计算一下，1/4 ÷ 2 = ⅛——所以下一个最小的音符是八分之一音符。

Just like those miniature superheroes Ant Man and the Atom (depending on whether you’re Marvel or DC), notes just keep getting smaller. Again, we’re operating on a 2-to-1 ratio, so let’s take a quarter note and divide it in half. Doing the math, ¼ ÷ 2 = ⅛—so the next-smallest note is the eighth note.

正如 4/4 拍小节中有四个四分音符 (4 × ¼ = 1) 一样，每个小节包含八个八分音符 (8 × ⅛ = 1)。换句话说，每个四分音符有两个八分音符 (2 × ⅛ = ¼)，或者每个节拍有两个八分音符。

Just as there are four quarter notes in a measure of 4/4 time (4 × ¼ = 1), each measure holds eight eighth notes (8 × ⅛ = 1). Put another way, there are two eighth notes for every quarter note (2 × ⅛ = ¼)—or two eighth notes for every beat.

八分音符看起来像带有旗标的四分音符。如果连续有两个或多个八分音符，则可以用正常垂直茎末端的水平梁替换标志。（标志不必连接在一起；有时这样更容易阅读。）

An eighth note looks like a quarter note with a flag on it. If you have two or more eighth notes in a row, the flags can be replaced with horizontal beams at the end of the normal vertical stems. (The flags don’t have to be joined together; sometimes it’s just easier to read that way.)

各种八分音符。

A variety of eighth notes.

十六分音符

Sixteenth Notes

好吧，你知道这是怎么回事。半个八分音符（算一下！）是一个十六分音符(⅛ ÷ 2 = ¹ ⁄ ₁₆ )。一个小节有 16 个十六分音符 (16 × ¹ ⁄ ₁₆ = 1)，或每一个四分音符节拍有 4 个十六分音符 (4 × ¹ ⁄ ₁₆ = ¼)。

Okay, you know where this is going. Half an eighth note is (do the math!) a sixteenth note (⅛ ÷ 2 = ¹⁄₁₆). There are 16 sixteenth notes in a measure (16 × ¹⁄₁₆ = 1), or 4 sixteenth notes per one quarter-note beat (4 × ¹⁄₁₆ = ¼).

十六分音符看起来像带有两个旗标的四分音符。与八分音符一样，如果两个或多个十六分音符彼此相邻，则标志可能（也可能不）连接在一起。

A sixteenth note looks like a quarter note with two flags on it. As with the eighth note, if 2 or more sixteenth notes are next to each other, the flags may (or may not) be joined together.

各种十六分音符。

A variety of sixteenth notes.

计数

Taking Count

写下一系列音符相当容易，但是如何以口头方式向其他音乐家传达音符和价值观呢？你是否会用数学的方式说出诸如“第十四个十六分音符”或“第四拍的两个十六分音符之后的第八个音符”之类的东西，或者是否有更简单的方法来描述你的节奏？

It’s fairly easy to write down a series of notes—but how do you communicate notes and values to other musicians verbally? Do you go all mathematical and say things such as “the fourteenth sixteenth note” or “the eighth note after the two sixteenth notes on beat four”—or is there an easier way to describe your rhythms?

正如您使用字母（A 到 G）描述绝对音高一样，您也可以使用数字描述绝对节奏 - 并且您只需能够数到四即可。

Just as you describe absolute pitches by using letters (A through G), you describe absolute rhythms by using numbers—and you need only to be able to count to four.

一开始相当简单，小节中的每个节拍都算作一、二、三或四。因此，如果您数四个四分音符，则将它们数为一、二、三、四。如果你想谈论一个小节中的第四个四分音符，你可以将其称为“四”，例如“在最后一个小节中，确保你在四上演奏降 B 调。”

It starts fairly simple, in that each beat in a measure is counted as either one, two, three, or four. So if you’re counting off four quarter notes, you count them as one, two, three, four. If you want to talk about the fourth quarter note in a measure, you call it “four,” as in, “In the last measure, make sure you play a B-flat on four.”

如果节拍始终是一、二、三或四，那么节拍之间的八分音符又如何呢？很简单：将它们算作“和”，如“一和、二和、三和、四和”，都非常均匀。你会这样谈论八分音符：“确保在三号和三号之后弹奏升 C 音。”

If the beat is always one, two, three, or four, what about the eighth notes that lay between the beats? It’s simple: count them as “and” as in “one-and, two-and, three-and, four-and,” all very even. You’d talk about an eighth note like this: “Make sure you play a C-sharp on the and after three.”

这很简单——但是十六分音符呢？这有点棘手，但一旦你进入其中，就会显得很自然。用无意义音节“e”和“ah”来代表八分音符之间的十六分音符。因此，如果您计算一组直十六分音符，您会计算“一个 e 和 a、两个 e 和 a、三个 e 和 a、四个 e 和 a、 ” 一切都美好而均匀。还不确定吗？

This is pretty easy—but what about sixteenth notes? This gets a little tricky, but it’ll seem natural once you get into it. Use the nonsense syllables “e” and “ah” to represent the sixteenth notes between eighth notes. So if you’re counting a group of straight sixteenth notes, you’d count “one-e-and-a, two-e-and-a, three-e-and-a, four-e-and-a,” all nice and even. Still not sure about this?

检查下图，该图显示了如何计算各种音符分组的数量。

Examine the following figure, which shows how to count various groupings of notes.

如何计算各种类型的笔记。

How to count various types of notes.

小憩一下

Taking a Rest

如果一个音符代表音高的持续时间，那么当你不演奏或唱歌时你怎么称呼它？在音乐中，当你不演奏时，你就是在休息，所以任何不演奏的音符都称为休止符。

If a note represents the duration of a pitch, what do you call it when you’re not playing or singing? In music, when you’re not playing, you’re resting—so any note you don’t play is called a rest.

当您看到四个四分音符时，您会演奏或演唱四个音调 - 每个节拍一个。当你看到四个四分音符休止符时，你就不会演奏四个音；而是演奏四个音。你休息了四个节拍。

When you see four quarter notes, you play or sing four tones—one per beat. When you see four quarter note rests, you don’t play four tones; you rest over four beats.

每种类型的音符（全音符、半音符等）都有相同时长的相应休止符。所以你有一个持续整个小节的全休止符，一个持续半个小节的半休止符，等等。休止符用于表示音符之间的空格，与您弹奏的音符一样重要。

Each type of note—whole note, half note, and so on—has a corresponding rest of the same duration. So you have a whole rest that lasts a whole measure, a half rest that lasts a half measure, and so on. Rests are used to indicate the spaces in between the notes and are just as important as the notes you play.

下表显示了您刚刚学过的所有音符及其相应的休止符。

The following table shows all the notes you’ve just learned and their corresponding rests.

记下笔记并加以点缀

Taking a Note—and Dotting It

迟早你会遇到一些不同的东西：音符或休止符后面有一个点。当您遇到这些附点音符之一时，该音符的持续时间应该比该音符的正常版本更长——准确地说，长一倍半。

Sooner or later you’ll run into something a little different: a note or a rest with a dot after it. When you run into one of these dotted notes, that note should have a longer duration than the normal version of that note—one and a half times longer, to be precise.

这就是你的数学技能重新发挥作用的地方。我们以附点四分音符为例。常规的四分音符相当于一个节拍。如果乘以 1 × 1½，则得到 1½ 节拍，因此附点四分音符相当于 1½ 节拍。您也可以这样说：一个四分音符等于四个十六分音符，4 × 1½ = 6，而 6 个十六分音符等于 1½ 四分音符。不管你怎么计算，结果都是一样的。

Here’s where your math skills come back into play. Let’s take a dotted quarter note as an example. A regular quarter note is worth a single beat. If you multiply 1 × 1½, you get 1½ beats—so a dotted quarter note is worth 1½ beats. You also could go about it by saying a quarter note equals four sixteenth notes, and 4 × 1½ = 6, and 6 sixteenth notes equal 1½ quarter notes. However you do the math, it comes out the same.

因此，当您看到附点音符时，请比平常保持该音符的时间长 50%，如下表所示。

So when you see a dotted note, hold that note 50 percent longer than you would do normally, as shown in the following table.

虚线音符值

Dotted Note Values

这个虚线注释... This Dotted Note …	等于这个 Equals This

您还可以使用附点休止符，其作用与附点音符相同。当您在休止后看到一个点时，该休止的持续时间应该是主休止值的一倍半。

You can also have dotted rests, which work the same as dotted notes. When you see a dot after a rest, that rest should last one and a half times the value of the main rest.

记下两个笔记并将它们绑在一起

Taking Two Notes—and Tying Them Together

使笔记更长的另一种方法是将其与另一个笔记绑在一起。领带是放置在两个音符之间的一个小圆形连接器；它本质上告诉您将第二个注释添加到第一个注释中。

Another way to make a note longer is to tie it to another note. A tie is a little rounded connector placed between two notes; it essentially tells you to add the second note to the first note.

领带是两件事中的一件事。

A tie makes one note out of two.

当您看到两个或多个音符连在一起时，您可以将它们当作单个音符来演奏；例如，两个四分音符连在一起等于一个二分音符。

When you see two or more notes tied together, you play them as if they’re a single note; for example, two quarter notes tied together equal one half note.

如果连在一起的音符处于不同的音高，你会怎么做？嗯，这可能看起来像领带，但它并不是真正的领带——它是一种诽谤。连线是一种指示两个（或更多）音符将以平滑连接的方式演奏的方式，而不是作为明显独立的音符。

What do you do if the tied notes are on different pitches? Well, this may look like a tie, but it isn’t really a tie—it’s a slur. A slur is a way of indicating that two (or more) notes are to be played in a smoothly connected fashion, rather than as distinctly separate notes.

这并不是真正的平局；而是平局。这是一种诽谤。

This isn’t really a tie; it’s a slur.

抓住节拍并除以三

Taking the Beat and Dividing by Three

节奏记谱法还有一个小奇怪之处——这个非常重要。到目前为止我们所做的一切都将音符和节拍一分为二。那么，如果除以二以外的东西会发生什么？

There’s another little oddity in rhythmic notation—and this one is very important. Everything we’ve done up to now has divided notes and beats by two. What happens, then, if you divide by something other than two?

除二之外最常见的除法是除以三；这称为三元组。当您在一组三个音符（或三个休止符，或三个相等的音符和休止符的任意组合）上看到数字“3”时，您就知道这三个音符必须适合通常只能容纳两个音符的空间。

The most common division other than two is dividing by three; this is called a triplet. When you see the number three over a group of three notes (or three rests—or any combination of three equal notes and rests), you know that those three notes have to fit into a space that would normally hold just two notes.

三连音的三个音符适合两个常规音符的空间。

The three notes of a triplet fit in the space of two regular notes.

三连音比直音符更具滚动感，被视为“trip-ah-let”。您可以使用任何音符值的三连音，但四分音符三连音（其中三个间隔在两个节拍上）、八分音符三连音（三个在一个四分音符节拍上）和十六分音符三连音（三个在一个四分音符节拍上）。一个八分音符的空格）是最常见的。

Triplets have more of a rolling feel than straight notes and are counted as “trip-ah-let.” You can have triplets of any note value, although quarter-note triplets (where three of them are spaced over two beats), eighth-note triplets (three on a single quarter-note beat), and sixteenth-note triplets (three in the space of a single eighth note) are the most common.

练习

Exercises

练习5-1

Exercise 5-1

说出下列音符和休止符的名称。

Name the following notes and rests.

练习5-2

Exercise 5-2

在以下小节中的每个注释下方写下计数（“one-e-and-ah”）。

Write the count (“one-e-and-ah”) below each of the notes in the following measures.

练习5-3

Exercise 5-3

用八分音符填写这些小节的平衡。

Fill in the balance of these measures with eighth notes.

练习5-4

Exercise 5-4

写出下列音符的相应休止符。

Write the corresponding rests for the following notes.

练习5-5

Exercise 5-5

用八分音符三连音填写这些小节的平衡。

Fill in the balance of these measures with eighth-note triplets.

练习5-6

Exercise 5-6

将每组两个音符（但不是其余音符！）绑在一起。

Tie each group of two notes (but not the rests!) together.

练习5-7

Exercise 5-7

输入四个全音符，然后是四个二分音符，然后是四个四分音符，然后是四个八分音符，然后是四个十六分音符。

Enter four whole notes, followed by four half notes, followed by four quarter notes, followed by four eighth notes, followed by four sixteenth notes.

练习5-8

Exercise 5-8

在这些音符上画出符干和符尾，使其成为八分音符；确保将茎指向正确的方向。

Draw stems and flags on these notes to make them eighth notes; make sure to point the stems in the correct direction.

您至少需要知道的

The Least You Need to Know

• 音符值根据其持续时间命名。全音符持续一个完整小节（4/4 拍），半音符持续一个半小节，依此类推。
• Note values are named according to their duration. Whole notes last a whole measure (in 4/4 time), half notes last a half measure, and so on.
• 每个较小的音符的持续时间是前一个音符的一半。例如，四分音符的长度是二分音符的一半。
• Each smaller note lasts half as long as the previous note. A quarter note, for example, is half as long as a half note.
• 每个音符值都有相同持续时间的相应休止符，这表示不要演奏或唱歌。
• Each note value has a corresponding rest of the same duration—which indicates not to play or sing.
• 音符或休止符后的点可将该音符的值扩展 50%。
• A dot after a note or rest extends the value of that note by 50 percent.
• 当您将三个音符放入通常只能容纳两个音符的空间时，这些音符称为三连音。
• When you fit three notes into a space that normally holds only two, those notes are called triplets.